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primarily by myself with the camera. There was not much in the room. I would do some things and record them. They were often repetitious and intuitive. Ma Bell was one of the first actions that I did which involved liquids, in this case, motor oil. I had not planned to make the piece. It was spontaneous. It was the first tape where there was a persona.
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I started making videotapes in the early 1970s. The first ones were around perception and illusion. The camera was upside down, or I’d use mirrors, things like that. But I also started making pieces that were performances in the sense that I would be in front of the camera. I would work in the studio
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into his rectum. The piece ended when the audience could no longer stand to watch his performance. Concerned that the
University's custodians would have to clean up the mess, graduate students Virginia Maksymowicz and Blaise Tobia, along with art historian Moira Roth, spent several hours cleaning up
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in Bern, Switzerland, took off in a wind, bringing down a power line, breaking a greenhouse window and a window at a children's home. This incident was widely reported internationally via news outlets in several languages with headlines like "Huge turd catastrophe for museum" and "Up in the sky: is
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Vienna is not Los
Angeles. My work came out of kids' television in Los Angeles. I didn't go through Catholicism and World War II as a teenager, I didn't live in a European environment. People make references to Viennese art without really questioning the fact that there is a big difference between
437:. Originally, it was intended to be placed next to the concert hall at the locally famous "Schouwburgplein" square, but it never was. This was due to controversies around the statue: The work is seen by many citizens as having sexual connotations, and, therefore it also is colloquially called "
282:– he is a critical analyst of the mass media and consumer-driven American society and its hypocrisy, double standards and repression. On the other hand, it is European avant-garde art that has had the most influence on his artistic form language. Such influences include the Lost Art Movement,
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McCarthy has a predilection for
American myths and icons. In most of his works, he takes the models and role models of that world and skewers them. Santa Claus, Pinocchio and the cowboy play just as important a role in the imagery as Bush or the Queen of
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Gnome". Its original location was rejected by citizens and retailers, as well as several other proposed locations. On
November 28, 2008, it did, however, receive a permanent destination on the Eendrachtsplein square, within a walkway-of-statues project.
486:. This caused controversy among citizens, who believed their historic square had been sullied. Within two days the piece had been deflated by someone, and McCarthy stated that he did not want it to be repaired or replaced. He also admitted to
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In his early works, McCarthy sought to break the limitations of painting by using the body as a paintbrush or even canvas; later, he incorporated bodily fluids or food as substitutes into his works. In a 1974 video,
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Sherer, Daniel. "Heidi on the Loos. Ornament and Crime in Mike Kelley and Paul McCarthy's Heidi." PIN-UP 3 (2008), 59–62. Reprinted in Y. Safran, ed. Adolf Loos Our
Contemporary (New York: Columbia GSAPP,
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Although by his own statement the happenings of the
Viennese Actionists were known to him in the 1970s, he sees a clear difference between the actions of the Viennese and his own performances:
321:, he painted with his head and face, "smearing his body with paint and then with ketchup, mayonnaise or raw meat and, in one case, feces." This clearly resembled the work of Vienna actionist
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McCarthy's works include performance, sculpture, installation, film and "painting as action". His points of reference are rooted, on the one hand, in things typically
American, such as
510:. McCarthy created a life size comic figure exploring the relationship between modern culture, innocence and consumerism. In a way this piece pays homage to the iconic children’s toy
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McCarthy has created several
Christmas-themed works. Through them, he combined his impressions of the dismal aesthetic and the real meaning of Christmas. In 2001, he created
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at
Paramount Ranch 3, amongst the trees and rolling hills of the Santa Monica Mountains, where the reception was positive and visitors "reveled in its absurdist glory".
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Originally formally trained as a painter, McCarthy's main interest lies in everyday activities and the mess created by them. Much of his work in the late 1960s, such as
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332:, psychosexual events intended to fly in the face of social convention, testing the emotional limits of both artist and viewer. An example of this is his 1976 piece
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as McCarthy’s human figure has an enlarged cartoonish red tomato as its head, transforming a child's toy into a sinister work of art.
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360:(1995), often seeks to undermine the idea of "the myth of artistic greatness" and attacks the perception of the heroic male artist.
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Zebracki, Martin (2012). "Engaging geographies of public art: Indwellers, the 'Butt Plug Gnome' and their locale".
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ketchup and blood. I never thought of my work as shamanistic. My work is more about being a clown than a shaman.
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Zebracki, Martin. Engaging geographies of public art: indwellers, the 'Butt Plug Gnome' and their locale.
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New York, featuring McCarthy's mixed-media works, centered on the character Snow White from Disney's
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the ketchup and vomit. Maksymowicz can be seen in the rear left of a documentary photo of the event.
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in Paris. The inflatable sculpture, standing 24 meters tall, was said to resemble a large green
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Petersen, Magnus af (2006). "Paul McCarthy's 40 years of hard work-an attempt at a summary".
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149:(born August 4, 1945) is an American artist who lives and works in Los Angeles, California.
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Heidi: Midlife Crisis Trauma Center and
Negative Media-Engram Abreaction Release Zone
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637:"Paul McCarthy on the Messy, Lonely Truth Behind How He Got His Start as an Artist"
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that its butt plug shape was deliberate, and a "joke". In 2016 he again exhibited
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800:(Taschen's 25th anniversary special ed.). Köln: Taschen. pp. 366–371.
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Hoffmann, Jens; McCarthy, Paul (2010). Berg, Stacen; Hoffmann, Jens (eds.).
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Toronto: Power Plant Contemporary Art Gallery at Harbourfront Centre, 2000.
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until dazed and self-injured. He then vomited several times and inserted a
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In 1994, McCarthy had one of his most important works from the 1990s,
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and Paul McCarthy at the Bavariapark and the Verkehrszentrum of the
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1091:. February 1, 2016. Archived from the original on August 23, 2018.
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Klein, Jennie (May 2001). "Paul McCarthy: Rites of Masculinity".
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In November 2009, an exhibition called "White Snow" was held at
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Paul McCarthy at Tate Modern: Block Head and Daddies Big Head.
1210:(25th anniversary ed.). Köln: Taschen. pp. 184–187.
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Live Art in LA: Performance in Southern California, 1970–1983
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1085:"On Exhibit | Paul McCarthy's Plug Life at Paramount Ranch"
262:(2001) on the Eendrachtsplein in Rotterdam, the Netherlands
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Rugoff, Ralph, Kristine Stiles, Giacinto Di Pietrantonio.
185:. McCarthy currently works mainly in video and sculpture.
710:"Art Review: Work on the Wild Side, Raw, Rank and Morbid"
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Grosenick, Uta; Riemschneider, Burkhard, eds. (2005).
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During the summer of 2008, Paul McCarthy's inflatable
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984:"Santa Claus Finds A Permanent New Home In Rotterdam"
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HEIDI (Mike Kelley & Paul McCarthy, 1992 on Vimeo
1058:"Vandals deflate giant 'sex toy' sculpture in Paris"
532:"'Paul McCarthy: WS' Turns a Magic Mirror on Excess"
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Mike Kelley and Paul McCarthy: Collaborative Works.
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325:. Similarly, his work evolved from painting to
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878:"Up in the sky: is it a turd? Is it a plane?"
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1117:"Paul McCarthy | Tomato Head (Green), 1994"
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19:For other people named Paul McCarthy, see
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626:: interview with McCarthy by Stacen Berg
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1011:"Paul McCarthy, the Demented Imagineer"
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771:Laughing His Way Into Character - Art21
373:led to his 1992 video and installation
352:McCarthy's works in the 1990s, such as
173:until 1969. He went on to study at the
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568:PAJ: A Journal of Performance and Art
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183:University of California, Los Angeles
1577:USC Roski School of Fine Arts alumni
1189:Paul McCarthy: Head Shop. Shop Head.
240:Centro de Arte Contemporânea Inhotim
472:In October 2014, McCarthy unveiled
342:University of California, San Diego
196:(1970), are similar to the work of
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1602:20th-century American male artists
1592:San Francisco Art Institute alumni
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850:"Huge turd catastrophe for museum"
822:"Complex Shit causes museum chaos"
614:. Ostfildern: Hatje Cantz Verlag.
612:Paul McCarthy's Low Life Slow Life
408:, installed on the grounds of the
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1056:Chazan, David (18 October 2014).
179:University of Southern California
88:University of Southern California
1234:Paul McCarthy: Videos 1970-1997.
530:Cotter, Holland (27 June 2013).
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760:Projects 51: Paul McCarthy|MoMA
739:. Routledge Press. p. 73.
708:Smith, Roberta (May 15, 1998).
689:"Paul McCarthy: "Sauce" (1974)"
459:Snow White and the Seven Dwarfs
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1009:Kennedy, Randy (10 May 2013).
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1236:Cologne: Walther König, 2004.
858:. London, UK. August 12, 2008
658:: Steidl Verlag. p. 20.
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161:, in 1945. He studied art at
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1264:London: Phaidon Press, 1996.
1148:Social effects of television
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798:100 Contemporary Artists A-Z
363:McCarthy's transfixion with
340:-spattered classroom at the
194:Hold an Apple in Your Armpit
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1572:Artists from Salt Lake City
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796:Holzwarth, Hans W. (2009).
735:Phelan, Peggy, ed. (2012).
175:San Francisco Art Institute
84:San Francisco Art Institute
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383:(2001–05), alludes to the
238:(2001), Collection of the
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1582:University of Utah alumni
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1196:Paul McCarthy: Lala Land.
1101:: CS1 maint: unfit URL (
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1143:Criticism of capitalism
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72:Salt Lake City, Utah
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1243:London: Tate, 2003.
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990:. November 28, 2008
932:Whitechapel Gallery
652:Head Shop/Shop Head
1506:Krzysztof Wodiczko
1351:Doris Totten Chase
1170:Massimiliano Gioni
1015:The New York Times
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886:. August 13, 2008
830:. August 12, 2008
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